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How they lived in the USSR in the 1970s: Non-dressy photographs of documentary filmmaker Valery Shchekoldin
How they lived in the USSR in the 1970s: Non-dressy photographs of documentary filmmaker Valery Shchekoldin

Video: How they lived in the USSR in the 1970s: Non-dressy photographs of documentary filmmaker Valery Shchekoldin

Video: How they lived in the USSR in the 1970s: Non-dressy photographs of documentary filmmaker Valery Shchekoldin
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Valery Petrovich Shchekoldin is an outstanding Russian photographer who, during his lifetime, became a classic of documentary photography. Shchekoldin filmed in Russia and the former Soviet Union, in Chechnya and other hot spots. The heroes of Shchekoldin's photographs are old people, children from orphanages, teenagers from correctional colonies and prisons, residents of nursing homes.

1. Leonid Ilyich Brezhnev in Ulyanovsk

Before Leonid Ilyich Brezhnev's visit to Ulyanovsk in 1970
Before Leonid Ilyich Brezhnev's visit to Ulyanovsk in 1970

2. On the tram

USSR, Leningrad, 1980s
USSR, Leningrad, 1980s

Valery Shchekoldin's works are not a kind of balanced ideal look at the difficult times of our history, but they try to present the viewer with a transparent view of events.

3. Portrait of a girl

A girl at the station of Novy Urgal station. USSR, 1976
A girl at the station of Novy Urgal station. USSR, 1976

The main body of the author's photographs covers a period of more than thirty years: from the late 1960s to the late 1990s, which, on the one hand, conveys the timelessness of the difficult life of ordinary people, and on the other hand, makes it clear that a poor life was burdened for many by a series of wars and persecution of local residents.

4. At the mausoleum

At the tomb monument on Red Square near the Kremlin wall in Moscow, 1970
At the tomb monument on Red Square near the Kremlin wall in Moscow, 1970

At the same time, the photographer himself does not separate the shooting of the times of the Soviet Union and the post-Soviet world, does not oppose them to each other, creating an unbroken chain of history. Schekoldin states: “Epochs seem to affect everyone in the same way, but everyone has different resistance and variability to them. And therefore a person is more interesting than an era. It is interesting, of course, how circumstances affect a person. It is interesting how a person resists these circumstances."

5. Fascinating realism

Girl on the fence. USSR, 1968
Girl on the fence. USSR, 1968

Many of the photographer's works remain unnoticed, because propagandists on both sides to this day select either exclusively sleek photographs, or photographs that, without knowledge of the exposure, may seem outright fiction. In support of this, the master frankly complains that at the time of the collapse of the USSR, his photographs, taken to reflect the truth, were used as reverse propaganda.

6. Park in Moscow

Central Park of Culture and Rest named after Maxim Gorky. USSR, Moscow, 1984
Central Park of Culture and Rest named after Maxim Gorky. USSR, Moscow, 1984

It is not surprising that Valery Shchekoldin, even calling his early style "socialistinism", never considered himself an anti-Soviet, specifying that "he tried to translate the language of political symbols into the language of ordinary aesthetics." At the same time, in contrast to the "anti-Soviets" who poured into the streams, the master received the long-awaited recognition after 1991, and prestigious awards came to him even later. The philosopher Alexander Zinoviev, in an interview telling about the history when he and his comrades created a society with the aim of assassinating Stalin, focused on the fact that they did it not because of anti-communism, but because, on the contrary, they were "too communists."

7. Russian ballerinas

Ballerinas. USSR, Moscow, 1978
Ballerinas. USSR, Moscow, 1978

The early years of Soviet power, when creativity “came from the masses,” the photographer contrasts with the Brezhnev era, when “creativity” often descended from above according to the order. And there is almost nothing surprising in the fact that Shchekoldin knew Zinoviev's works and agreed with them.

8. Soviet woman

Woman with a can. USSR, Moscow, 1970
Woman with a can. USSR, Moscow, 1970

It was the dissonance between the preached and the professed upper classes that the photographer tried to reveal. When asked about a protest against the system, the dismayed journalist hears: “There was no protest against the system. Communism and socialism are not a system, they are philosophy, they are a worldview. I am not saying that the teaching of socialism is in principle impossible. I say that his priests were rather narrow-minded people. At the same time, the people considered themselves ten times more stupid. But for some reason I do not like it when I and those around me are held for fools."

9. USSR, 1970

Dog with a residence permit
Dog with a residence permit

Analyzing the first failures in the field of photojournalism, Shchekoldin was surprised to realize that his pictures are often not taken to print because they depict a normal life, while all magazines print life "which does not exist."

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